PERPETUAL MOTION BEBOP EXERCISES

Save this PDF as:
 WORD  PNG  TXT  JPG

Size: px
Start display at page:

Download "PERPETUAL MOTION BEBOP EXERCISES"

Transcription

1 PERPETUAL MOTION BEBOP EXERCISES Jason Lyon Bebop is much more than just one particular style, it is pretty much the grammar of modern jazz, and bebop licks are not so much cliches as essential elements of speech within the jazz language. Players such as Chick Corea, McCoy Tyner, Cecil Taylor, Paul Bley and the like all developed original styles that seem far removed from the sound of bebop. But if you take a close look at what they re playing, you ll find it s saturated with bebop principles. There s a good reason for this. The early bebop players developed a system that made it easier to improvise strong solo lines. There s nothing arbitrary in this system, the rules are there for sound logical and musical reasons. The key elements of bebop are: a) Consistent addition of certain passing tones to scales so that the strong chord tones coincide with the strong beats. b) Use of encircling gestures to creatively delay the arrival of any given tone. c) Strong chord tones are approached smoothly across the bar by whole-step, half-step or by extending an arpeggio. d) Balance between the use of arpeggios and scales. e) Balance between the use of upward and downward motion. f) Notes are often doing more than one job eg, appearing as part of an arpeggio and also as part of an extended encircling gesture that follows. g) Notes used at the point of change between chords either anticipate the chord that follows or work over both chords. Actually, these are mostly generally useful guidelines that will make any melodic line in any musical style sound good. There are plenty of books out there that will give you the details of bebop scale theory. There are also books containing hundreds of bebop patterns, but it has been my experience that when musicians truly internalise just one single pattern, it can transform their playing. Knowing why the phrase is constructed the way it is, is the key to this deeper understanding. I ve given a little talk-through of what s going on in each of the eight figures that follow. Learn them parrot-fashion if you wish, but you ll get ten times more out them if you devote some time to analysing how they re constructed. The figures given here are composed of lots of different fragments, very common and representative bebop gestures, strung together and designed to repeat across two bars. They fit the major II-V, II-V-I-VI and minor II-V-I progressions that form the backbone of modern jazz. These chord sequences often repeat in real-life music, so it s natural to loop them when you re practising. The fact that these are perpetual motion exercises should also help you get more out of your practice time by making the process of repetition logical and musical. Learning fragments strung together as a line like this is very efficient. Once you have a twobar figure under your fingers, you may wish to rattle off the whole thing. A much more creative approach is to use fragments from the complete figure when the occasion demands. It ll also be easier to link fragments in different ways if you ve learned some examples of how it s done from the very start.

2 RHYTHM Another keystone of this style is very active use of rhythm. While bebop is predominantly played in a stream of eighth notes, it is common to mix things up using rests and rhythmic displacement. Someone once said of Charlie Parker (I forget who) that the rhythms he played were so strong that any notes would have sounded good over them. Some specific examples of rhythmic devices, and the players associated with them, are as follows: Use of triplets and classical-style ornaments based on semiquavers (Parker) Use of crotchet triplets (Bill Evans whose style was more influenced by bebop than many people recognise) Use of odd note groupings 5s and 7s to fit extended ideas into the space of two of four beats (Dizzy Gillespie, later Coltrane) The next time you re listening to a good bebop solo, focus on the rhythms it s actually quite easy to transcribe just the rhythms if you don t worry about the note pitches, and well worth doing to expand the rhythmic possibilities in your own playing. SUGGESTIONS FOR PRACTICE a) Practise the figures round and round as written. Concentrate on what is going on harmonically as you play through them. b) Experiment with leaving different tones out to isolate the internal fragments and alter the feel of the whole figure. Leaving notes out and/or compressing parts of the figures into triplets is a good way to bring more rhythmic sophistication into your playing. c) Interchange fragments between the different figures, creatively altering the rhythms to fit them together. d) Finally, improvise freely over the chord sequences, looking to insert pieces of the figures to launch, extend or end your line. By the way, it s best to begin by assimilating these kind of lines thoroughly in one key, before you take them round the cycle of Vs. You will eventually need them in all keys, but you ll be able to learn them much quicker in all the keys if you are completely clear about what s going on in one key first. In no time at all, the bebop language will start to appear naturally in your solos. If you ve really internalised the why as well as the what, you ll soon find yourself constructing more musical lines within the bebop idiom. Best of luck, and feel free to get in touch with me at: Jason Lyon London September 2007

3 BEBOP PERPETUAL MOTION FIGURE 1 Dm7 G7 The first six notes are a popular fragment using the segment of the bebop scale with the passing tone. The next four are a truncated version of the same fragment, but in a different place in the bar. The line is extended up the G7 chord in 3rds, using a sharp 11 th to bypass the avoid note, and then back down the G7 scale (when the 11 th doesn t need to be raised because it falls on a weak upbeat. This figure also works the other way round the bars can be reversed against the chords (where the C# is optional). BEBOP PERPETUAL MOTION FIGURE 2 Dm7 G7 Variation on the first figure. This figure also works the other way round the bars can be reversed against the chords (where the C# is optional). BEBOP PERPETUAL MOTION FIGURE 3 Dm7 G7b9 Treat the first note as a pickup to a very common bebop gesture which is all about lowering the root of Dm7 by semitone steps, seesawing with the 5 th below, to approach the 3 rd of the G7b9 chord that follows. The line then climbs the diminished scale that goes with G7b9 in thirds, descends the scale for two tones, and ends with a chromatic approach to the opening pickup. Any of the above three figures can also resolve to C. BEBOP PERPETUAL MOTION FIGURE 4 Dm7 G7 CM A7alt The first three notes are another popular fragment which chromatically encircles the root of the Dm7 chord. Then it s up the scale that fits both Dm7 and G7 with a skip at the end. The C doesn t need raising over the G7 chord because it appears on a weak upbeat. In addition, the 7 th of the C chord (B) is encircled by A and C. Then it s down an inverted CM9 arpeggio to arrive smoothly by stepwise motion at the 3 rd of A7 (C#). Finally, we skip up to the root and run down a fragment of the A7alt scale which is the same as the Dm7 scale that follows.

4 BEBOP PERPETUAL MOTION FIGURE 5 Descending melodic cell pattern (5321) over the Dm7, then the first four notes of the popular fragment of the bebop scale over the G7. This leads smoothly, upwards this time, to the 7 th of the C chord. Then down a CM arpeggio to a seesaw figure on the A7b9 chord between the 3 rd and b9 th. The three final notes (Bb, G and G#) form an extended chromatic approach to the 3 rd of the Dm7 chord (A) that we started with. BEBOP PERPETUAL MOTION FIGURE 6 That popular bebop scale fragment again, with the first two tones acting as a pickup, then an extended chromatic encircling (G, F, D, D#) of the 3 rd of the C chord. The line then drops to the root of C, then anticipates the A7b9 chord by a beat with its 3 rd and 5 th. Finally up to the 7 th and root of the A7b9 chord, arriving back at the pickup. BEBOP PERPETUAL MOTION FIGURE 7 The first three notes descend the Dm7 scale. The next four notes just ignore the G7 chord altogether and form an extended chromatic approach to the 5 th of the C chord. The line then descends a melodic cell (5321) in C and ascends the diminished scale that goes with the A7b9 chord in 3rds. BEBOP PERPETUAL MOTION FIGURE 8 D G7b9/G7alt Cm A little something in minor. The first four notes go up a 7 th chord in D, then the next three notes descend the diminished scale that goes with G7b9 or G7alt. The Ab and F# also form an encirclement of G, which is the 5 th of the Cm chord that follows. Then down a melodic cell (5321) in C minor, which connects naturally with another melodic cell (431) very bluesy sounding. The Eb, C and C# then form an encirclement back to the D. Note also that the final four notes in the second bar fit both Cm and A7alt (the VI chord).

5 STRINGING IT ALL TOGETHER This is the sort of thing you can come up with by creatively combining the fragments from the 8 figures with some connective material (the chord sequence is Dm7 G7 CM A7b9 repeating over and over):

BEBOP EXERCISES. Jason Lyon 2008. www.opus28.co.uk/jazzarticles.html INTRODUCTION

BEBOP EXERCISES. Jason Lyon 2008. www.opus28.co.uk/jazzarticles.html INTRODUCTION BEBOP EXERCISES www.opus28.co.uk/jazzarticles.html INTRODUCTION Bebop is all about being able to play any chromatic tone on any chord. Obviously, if we just play chromatically with free abandon, the harmony

More information

HOW TO HANDLE A SUS CHORD

HOW TO HANDLE A SUS CHORD HOW TO HANDLE A SUS CHORD Jason Lyon 2007 It s a common problem among people learning how to improvise that they freeze when faced with a sus chord. I ve often found that the reason people don t know what

More information

B. PENTATONICS BY CHORD TYPE

B. PENTATONICS BY CHORD TYPE B. PENTATONICS BY CHORD TYPE 1. WHAT TO PLAY ON A MINOR 7TH CHORD AS OF now, we ll be thinking primarily in terms of minor pentatonics (but keeping the relative major in the back of our mind). There are

More information

Tutorial 1J: Chords, Keys, and Progressions

Tutorial 1J: Chords, Keys, and Progressions Tutorial 1J: Chords, Keys, and Progressions Welcome! In this tutorial you ll learn how to: Other Level 1 Tutorials 1. Relate chords with keys 1A: Virtual Practice 2. Use basic blues progressions & blues

More information

Guitar Rubric. Technical Exercises Guitar. Debut. Group A: Scales. Group B: Chords. Group C: Riff

Guitar Rubric. Technical Exercises Guitar. Debut. Group A: Scales. Group B: Chords. Group C: Riff Guitar Rubric Technical Exercises Guitar Debut In this section the examiner will ask you to play a selection of exercises drawn from each of the three groups shown below. Groups A and B contain examples

More information

Jim Hall Chords and Comping Techniques

Jim Hall Chords and Comping Techniques Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with

More information

The Evolution of Jazz Blues Chords

The Evolution of Jazz Blues Chords The Evolution of Jazz Blues Chords Jazz blues chords, progressions and tunes appear throughout the Jazz genre in many different forms and arrangements. The influence of Blues on Jazz is undeniable. The

More information

HOW SCALES, KEY SIGNATURES, & ARPEGGIOS WORK www.tubapeter.com

HOW SCALES, KEY SIGNATURES, & ARPEGGIOS WORK www.tubapeter.com 1 HOW SCALES, KEY SIGNATURES, & ARPEGGIOS WORK www.tubapeter.com WHAT IS A SCALE? A scale is all the pitches that you can play in a key signature without playing any accidentals. The key of Bb is Bb and

More information

Jazz Bass Line Construction Thelonious Monk Institute of Jazz Online Jazz Handbook

Jazz Bass Line Construction Thelonious Monk Institute of Jazz Online Jazz Handbook Jazz Bass Line Construction Thelonious Monk Institute of Jazz Online Jazz Handbook welcome to the bass chapter of the Thelonious Monk Institute of Jazz s Online Jazz Handbook! The function of a bass player

More information

PENTATONICS BY CHORD TYPE

PENTATONICS BY CHORD TYPE PENTATONICS BY CHORD TYPE Extract from Pentatonic & Hexatonic Scales in Jazz, Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html 1. WHAT TO PLAY ON A MINOR 7TH CHORD AS OF now, we ll be thinking primarily

More information

How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 Revised 4 September 2012

How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 Revised 4 September 2012 How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 Revised 4 September 2012 There are different forms of jazz improvisation. For example, in free improvisation, the player is under

More information

DECIPHERING JAZZ CHORD SYMBOLS

DECIPHERING JAZZ CHORD SYMBOLS DECIPHERING JAZZ CHORD SYMBOLS Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html Jazz relies on a shorthand system of chord notation, which is not universal, not standard, and not terribly logical or

More information

evirtuoso-online Lessons

evirtuoso-online Lessons evirtuoso-online Lessons Chords Lesson 3 Chord Progressions www.evirtuoso.com Chord Progressions are very popular and a strong foundation for many instruments and songs. Any chords combined together in

More information

Soloing Quick Start Guide

Soloing Quick Start Guide 1 Starlin Guitar Method By Mark Starlin First Edition July 2014 markstarlin.com Copyright 2014 Mark Starlin All rights reserved 2 Contents Before You Begin 4 Fretboard Diagram 4 Fret Positions 4 Guitar

More information

Analysis of the First Movement of Bartók s Suite Opus 14 Matt Wright, Music 301B, March 17, 2004

Analysis of the First Movement of Bartók s Suite Opus 14 Matt Wright, Music 301B, March 17, 2004 Analysis of the First Movement of Bartók s Suite Opus 14 Matt Wright, Music 301B, March 17, 2004 Tonality The allegretto first movement of Béla Bartók s Suite, Opus 14 from 1916 uses many elements of the

More information

b 9 œ nœ j œ œ œ œ œ J œ j n œ Œ Œ & b b b b b c ÿ œ j œ œ œ Ó œ. & b b b b b œ bœ œ œ œ œ œbœ SANCTICITY

b 9 œ nœ j œ œ œ œ œ J œ j n œ Œ Œ & b b b b b c ÿ œ j œ œ œ Ó œ. & b b b b b œ bœ œ œ œ œ œbœ SANCTICITY SANCTICITY ohn Scofield guitar solo from the live CD im Hall & Friends, Live at Town Hall, Volumes 1 & 2 azz Heritage CD 522980L Sancticity, a tune by Coleman Hawkins, is based on the same harmonic progression

More information

Main Line 7 th position. All Dorian mode built off of D Dorian. Count 1 & 2 & 3 & 4 & ( ) Pick D D U D U D U D

Main Line 7 th position. All Dorian mode built off of D Dorian. Count 1 & 2 & 3 & 4 & ( ) Pick D D U D U D U D So What This tune is totally in the Dorian Mode. Solo and all starts in D Dorian and then moves up to Eb Dorian. The chord rules as most of the solo notes are chord tones. Tonight we will do a brief review

More information

The Method. Book 1. Ed Byrne

The Method. Book 1. Ed Byrne L i n e a r J a z z I m p r o v i s at i o n The Method Book 1 Ed Byrne LINEAR JAZZ IMPROVISATION The Method Book 1 Ed Byrne Dr. Ed Byrne 2001 CONTENTS INTRODUCTION 2 1. MELODY AND RHYTHM REDUCTION, COMPRESSION

More information

The Fundamental Triad System

The Fundamental Triad System The Fundamental Triad System A chord-first approach to jazz theory and practice Guitar Player s Edition VOLUME ONE Creating Improvised Lines Pete Pancrazi Copyright 2014 by Pete Pancrazi All Rights Reserved

More information

Programme of Study and Success Criteria for Key Stage 3 - MUSIC

Programme of Study and Success Criteria for Key Stage 3 - MUSIC Programme of Study and Success Criteria for Key Stage 3 - MUSIC Programmes of Study Year 7 Unit 1 Understanding the elements of music Learn about each element of and how it works in a piece of music Develop

More information

The diminished reference is to a C7b9 chord, which expresses the C half-step whole-step diminished scale.

The diminished reference is to a C7b9 chord, which expresses the C half-step whole-step diminished scale. PART I: PENTATONICS The basic pentatonic scales are as follows: C minor pentatonic C major pentatonic These two structures are linked by relative major-minor relationship: C minor pentatonic = Eb major

More information

L. DROP 2 VOICINGS. Bebop, hard bop, contemporary jazz. Bill Evans, Barry Harris, Oscar Peterson, Kenny Barron.

L. DROP 2 VOICINGS. Bebop, hard bop, contemporary jazz. Bill Evans, Barry Harris, Oscar Peterson, Kenny Barron. L. DROP 2 VOICINGS Bebop, hard bop, contemporary jazz. Bill Evans, Barry Harris, Oscar Peterson, Kenny Barron. Extract from A Compendium of Jazz Piano Voicings Jason Lyon 2007, AN ARRANGING technique used

More information

A BRIEF GUIDE TO PIANO FOURTH VOICINGS

A BRIEF GUIDE TO PIANO FOURTH VOICINGS A BRIEF GUIDE TO PIANO FOURTH VOICINGS INTRODUCTION This article is intended to give you a basic command of the most useful piano chords voiced in fourths (also known as quartal voicings ). This sound

More information

IMPROVISATION IN THE VCE MUSIC PERFORMANCE STUDY DESIGN

IMPROVISATION IN THE VCE MUSIC PERFORMANCE STUDY DESIGN IMPROVISATION IN THE VCE MUSIC PERFORMANCE STUDY DESIGN Improvisation can form a significant component of a VCE music performance course over two years, as outlined in the Music Performance Study Design

More information

Please Read This Page First

Please Read This Page First Mandolin and Fiddle Improvisation Using the Chord Tone Scale Copyright 2008 by Pete Martin Please Read This Page First This book is distributed using the shareware system. Try it out, if you like it please

More information

Basic Music Theory. Reading Different Clefs

Basic Music Theory. Reading Different Clefs 1 Basic Music Theory Reading Different Clefs The most commonly used clefs are the treble and bass. The ability to read both of these clefs proficiently is essential for Leaving Cert. Music. Clef reading

More information

Rehearsal Strategies A Night in Tunisia By Reginald Thomas, Professor of Jazz Piano Michigan State University, East Lansing, MI

Rehearsal Strategies A Night in Tunisia By Reginald Thomas, Professor of Jazz Piano Michigan State University, East Lansing, MI Rehearsal Strategies A Night in Tunisia By Reginald Thomas, Professor of Jazz Piano Michigan State University, East Lansing, MI Do you remember the first time you heard this jazz classic, A Night In Tunisia?

More information

Bach Chorales: A Guide.

Bach Chorales: A Guide. Bach Chorales: A Guide. Bach Chorales are meant to be sung by four part harmony SATB, originally for Lueran churches in Germany. Melodies should be someing easy to sing wi a recognisable tune. These melodies

More information

HOWARD COUNTY PUBLIC SCHOOLS PIANO I, II, and III / IV Honors

HOWARD COUNTY PUBLIC SCHOOLS PIANO I, II, and III / IV Honors HOWARD COUNTY PUBLIC SCHOOLS PIANO I, II, and III / IV Honors COMPETENCIES GOALS AND OBJECTIVES GOAL I: PERCEIVING, PERFORMING, AND RESPONDING: AESTHETICS The student will demonstrate the ability to perceive,

More information

50 Strumming Exercises Using the Circle (Cycle) of Fifths

50 Strumming Exercises Using the Circle (Cycle) of Fifths 50 Strumming Exercises Using the Circle (Cycle) of Fifths Absolute Basics: Roman Numerals There are a variety of Roman numerals that are assigned to the Circle of Fifths wheel. These numbers represent

More information

SET STAGE. The. by Randy Hunter. Rhythm section co-authors: Guy Fenocchi & Tim Nash

SET STAGE. The. by Randy Hunter. Rhythm section co-authors: Guy Fenocchi & Tim Nash SET The STAGE Jazz Combo Arrangements & Small Group Instruction by Randy Hunter Rhythm section co-authors: Guy Fenocchi & Tim Nash Set the Stage 1st Part Trumpet Alto Sax A Jazz Ensemble With As Few As

More information

The Four Blues and More

The Four Blues and More The Four Blues and More by Mark White-Whitmark Music Publishing A little knowledge is a dangerous thing. Particularly in the case of music theory where azz is concerned! Too many students become "experts"

More information

MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 HARMONY

MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 HARMONY MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 HARMONY Introduction All songwriters will use harmony in some form or another. It is what makes up the harmonic footprint of a song. Chord sequences and melodies

More information

Unit summary. Year 9 Unit 1 Chords into jazz

Unit summary. Year 9 Unit 1 Chords into jazz Year 9 Unit 1 Chords into jazz Unit summary Title Key objective Musical ingredients Features of musical elements Development of skills Outcomes Chords into jazz Learning how jazz musicians use chords as

More information

5 Classic Jazz Endings for Guitar

5 Classic Jazz Endings for Guitar 5 Classic Jazz Endings for Guitar Have you ever spent time learning a Jazz tune and felt like something was missing? The truth is, most jazz standards don t come with built in endings. If you re consulting

More information

Guitar Lesson Curriculum for Students of the Studio of Jeff Davis

Guitar Lesson Curriculum for Students of the Studio of Jeff Davis Guitar Lesson Curriculum for Students of the Studio of Jeff Davis BEGINNING GUITAR LEVEL 1 This 3-9 Month Plan is designed for students with no previous guitar experience. Students will receive guidance

More information

How To Improvise a Solo A Workshop for Beginners

How To Improvise a Solo A Workshop for Beginners 1 How To Improvise a Solo A Workshop for Beginners 10:00-10:30 am Arrival, Setup and Performance 10:30 to 12:00 pm Interactive Workshop 12:00 to 12:30 Lunch 12:30 to 2:00 pm Workshop 2:00 tp 3:30 pm Open

More information

Sample Pages. This pdf contains sample pages from the ebook The Easy Guide to Jazz Guitar Arpeggios. To get the full ebook, Click Here

Sample Pages. This pdf contains sample pages from the ebook The Easy Guide to Jazz Guitar Arpeggios. To get the full ebook, Click Here 1 Sample Pages This pdf contains sample pages from the ebook The Easy Guide to Jazz Guitar Arpeggios. To get the full ebook, Click Here 2 Contents Introduction....6 What Are Arpeggios?....7 Chapter 1:

More information

Study Kit No 9. Aura Lee (Love Me Tender)

Study Kit No 9. Aura Lee (Love Me Tender) Study Kit No 9 Aura Lee (Love Me Tender) Reharmonization Study Kit No. 9 Aura Lee Author: Rosablanca Suen Web: www.learnpianowithrosa.com Email: Rosa@LearnPianoWithRosa.com Cover Design: Raymond Suen Copyright

More information

Having looked at the regular scales like the major, minor and associated modes you ll have seen that they all contain 7 notes.

Having looked at the regular scales like the major, minor and associated modes you ll have seen that they all contain 7 notes. Pentatonics After a little thought, I ve concluded that before looking at more melodic substitution ideas, a brief look at pentatonic scales would be in order. The reason is that you ll have a few more

More information

Swing & Jump Blues Guitar Matthieu Brandt

Swing & Jump Blues Guitar Matthieu Brandt Swing & Jump Blues Guitar Matthieu Brandt Goto www.swingblues.com for more on Swing and Jump Blues Guitar. 1997-2016 No part of this material (book/cd/website) may be reproduced in any way without prior

More information

A Lesson With Larry Carlton

A Lesson With Larry Carlton A Lesson With Larry Carlton A Breakdown Of The Style And Technique Of Virtuoso Guitarist Larry Carlton By Bob Murnahan www.leadguitartactics.com A Lesson With Larry Carlton Introduction If you have been

More information

How to Practice Scales

How to Practice Scales How to Practice Scales Step #1). Make a 5-Day Practice Plan In order to cycle through as many areas of scale practice as possible (and not get bored) it is important to have a plan. Your plan should cover

More information

Jazz Theory and Practice Module 1, a, b, c: Tetrachords and Scales

Jazz Theory and Practice Module 1, a, b, c: Tetrachords and Scales Jazz Theory and Practice Module 1, a, b, c: Tetrachords and Scales A. The basic tetrachords, and other melodic patterns Modules 1 and 2 are about jazz basics: chords and scales. The chords could have come

More information

How to create bass lines

How to create bass lines First rule: always memorize the melody of the song! Always. Always. Always. You should be able to sing and play it in the original key. If you really want to be totally extra, extra awesome, you will be

More information

BOOK 1 PERFECT FOR BEGINNERS

BOOK 1 PERFECT FOR BEGINNERS BOOK 1 PERFECT FOR BEGINNERS Designed for the absolute beginner to the piano, featuring six original pieces that are fun to play and practice. You ll learn how to read music, improvise and create your

More information

Essential Beginner Guitar Theory

Essential Beginner Guitar Theory Essential Beginner Guitar Theory Get the free Guitar Theory Videos with this e-book at: www.tortoiseguitar.com - You are welcome to share this book with your friends - COPYRIGHT 2010 TortoiseGuitar.com

More information

The Chord Book - for 3 string guitar

The Chord Book - for 3 string guitar The Chord Book - for 3 string guitar Prepared for: 3 string fretted cbg Prepared by: Patrick Curley Forward This short ebook will help you play chords on your 3 string guitar. I m tuned to G, if you re

More information

Reharmonizations and Substitutions

Reharmonizations and Substitutions Reharmonizations and Substitutions 7 th chords and scale harmonization Reharmonizing: Substituting chromatic chords within the iii vi ii V I progression For the sake of variety, coloration and creativity,

More information

Modes for Autumn Leaves scales & modes are a group of notes, a pool if you like from which you can draw your ideas

Modes for Autumn Leaves scales & modes are a group of notes, a pool if you like from which you can draw your ideas 6 A1 c 1 a locrian #2 A2 10 14 18 22 C 26 30. Autumn Leaves 32 bar aabc form mark@azzpiano.co.nz please note that the melody is ritten in a simplified form, and is a guide only, embellishments & syncopation

More information

Developing a cohesive walking bass line 2005 Eric Elias

Developing a cohesive walking bass line 2005 Eric Elias Developing a cohesive walking bass line 00 Eric Elias Developing a walking bass lines is a subject that many of my students (guitarists and bassists alike) have been interested in. If you are a jazz player,

More information

Ear Training Software Review

Ear Training Software Review Page 1 of 5 Canada: sales@ Ear Training Software Review Kristin Ikeda, Kelly's Music & Computers Ear training software is a great tool to improve aural discrimination. It s a terrific way to practice and

More information

Improvisation Tools: Pentatonic by Gunharth Randolf

Improvisation Tools: Pentatonic by Gunharth Randolf Improvisation Tools: Pentatonic by Gunharth Randolf This is the first of a series of articles to familiarize you with the basic tools used in improvisation. In order to get the most out of this article

More information

How to Play in the Style of Wes Montgomery

How to Play in the Style of Wes Montgomery Sample Pages This pdf contains sample pages from the ebook. To get the full ebook, click here... Contents Chapter 1 Introduction.... 4 How to Use This Book?...4 Biography...6 Wes Montgomery s Guitars and

More information

How To Understand And Write Major Key Chord Progressions

How To Understand And Write Major Key Chord Progressions Why Do I Need To Know This Stuff? How To Understand And Write Major Key Chord Progressions I know what your thinking. Most popular musicians don't have a clue about how to analyze and write chord progressions,

More information

PREPARING TO STUDY JAZZ AT THE NEW ZEALAND SCHOOL OF MUSIC. The Jazz Theory Entrance Test 2010 STUDY GUIDE

PREPARING TO STUDY JAZZ AT THE NEW ZEALAND SCHOOL OF MUSIC. The Jazz Theory Entrance Test 2010 STUDY GUIDE PREPARING TO STUDY JAZZ AT THE NEW ZEALAND SCHOOL OF MUSIC The Jazz Theory Entrance Test 2010 STUDY GUIDE The Jazz Theory Entrance Test Study Guide Every concept that you will study in jazz theory, either

More information

An Introduction to Chords

An Introduction to Chords 1 An Introduction to Chords by David Gilson A chord is the musical sound produced by playing a number of notes at the same time. The sound of the chord is different depending on the key you are playing

More information

The Basic Jazz Guitar Chord Book

The Basic Jazz Guitar Chord Book The Basic Jazz Guitar Chord Book By Dirk Laukens / January 25, 2005 Hello and welcome to the basic jazz guitar chord book, brought to you by www.jazzguitar.be. How are guitar chords built? What makes a

More information

The Fingering Problem

The Fingering Problem The Fingering Problem Last Update Date: Wednesday, November 30, 2005 Preface... 2 Section I... 3 Notation used in this book... 3 First Fingering... 4 Second Fingering... 5 Third Fingering... 6 Fourth Fingering...

More information

Guitar Basics of Chords, Keys, and Scales

Guitar Basics of Chords, Keys, and Scales Guitar Basics of Chords, Keys, and Scales Resources: http://www.drpsychotic.com/strike_a_chord/strikeachord.html http://www.theorylessons.com/index.html http://www.jmdl.com/howard/music/keys_scales.html

More information

Ukulele Music Theory Part 2 Keys & Chord Families By Pete Farrugia BA (Hons), Dip Mus, Dip LCM

Ukulele Music Theory Part 2 Keys & Chord Families By Pete Farrugia BA (Hons), Dip Mus, Dip LCM This lesson assumes that you are using a ukulele tuned to the notes G, C, E and A. Ukulele Notes In lesson 1, we introduced the sequence of 12 notes, which repeats up and down the full range of musical

More information

Briefly review music theory units

Briefly review music theory units Framework for Lesson Plans It is important that students are always being presented with new concepts or elements while simultaneously practicing known concepts in each lesson. In your introductory lecture,

More information

Ü F F F F F F : F F ÜF H H H H H ÜH H H H HÜH. : H r H H HH H H. H H H H r Ü H CHORDS FROM SCALES

Ü F F F F F F : F F ÜF H H H H H ÜH H H H HÜH. : H r H H HH H H. H H H H r Ü H CHORDS FROM SCALES CHORDS ROM SCALES This tutorial is all about making chords out of scales. irst step is to catch a fish - not any old fish but a musical one. A bass, for instance. Not really. Read on. CHORDS ROM SCALES

More information

Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016)

Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016) NCEA Level 1 Music (90016) 2008 Page 1 of 8 Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016) Evidence Statement Q Evidence One SCORE EXTRACT A: Blues for Brass

More information

If you want to learn more about it, there are lots of ways of doing so, in an elementary, musical and holistic way, inspired, step by step.

If you want to learn more about it, there are lots of ways of doing so, in an elementary, musical and holistic way, inspired, step by step. 4 If you want to learn more about it, there are lots of ways of doing so, in an elementary, musical and holistic way, inspired, step by step. The white keys contain the seven names of the notes. These

More information

12-bar Blues Grooves & Turnarounds

12-bar Blues Grooves & Turnarounds Al Summers -bar Blues Grooves Turnarounds NB key signatures are not shown for two reasons: it helps make the pages look clearer, avoiding some confusing accidentals; it conforms to the modern method for

More information

The CAGED Guitar System

The CAGED Guitar System The CAGED Guitar System First of all, let s look at an example below on how to use the CAGED guitar system: 1 The example showed above demonstrates the general idea of how the CAGED system works in a certain

More information

Basic Music Theory for Junior Cert.

Basic Music Theory for Junior Cert. 1 Reading Different Clefs Basic Music Theory for Junior Cert. The most commonly used clefs are the treble and bass. The ability to read both of these clefs proficiently is essential for Junior Cert. Music.

More information

The Tuning CD Using Drones to Improve Intonation By Tom Ball

The Tuning CD Using Drones to Improve Intonation By Tom Ball The Tuning CD Using Drones to Improve Intonation By Tom Ball A drone is a sustained tone on a fixed pitch. Practicing while a drone is sounding can help musicians improve intonation through pitch matching,

More information

MAKING YOUR LINES SOUND MORE LIKE JAZZ!

MAKING YOUR LINES SOUND MORE LIKE JAZZ! MAKING YOUR LINES SOUND MORE LIKE JAZZ! BY ALISDAIR MACRAE BIRCH One of the common questions asked by jazz guitar students is, How do I make my lines sound more like jazz? or Why do my improvised lines

More information

Chords in the 1st ish position

Chords in the 1st ish position 1 The System Unlock your guitar! uitarists have always sought to understand the instrument in a variety of ways. Many players use the system without even being aware of it. It is considered to be a quite

More information

In General. To interpret the music in dancing boogie woogie the dancer have to know something about the music form.

In General. To interpret the music in dancing boogie woogie the dancer have to know something about the music form. In General To interpret the music in dancing boogie woogie the dancer have to know something about the music form. Boogie Woogie music is mostly played in blues schemes. Sometimes you can find swing scheme.

More information

Theory of Music Grade 6

Theory of Music Grade 6 Theory of Music Grade 6 May 2009 Your full name (as on appointment slip). Please use BLOCK CAPITALS. Your signature Registration number Centre Instructions to Candidates 1. The time allowed for answering

More information

Playing "Outside" CHAPTER EIGHT

Playing Outside CHAPTER EIGHT Playing "Outside" Sequences Playing a Half Step Away Playing a Trione Away Playing Scales to Get Outside Some Piano Stuff The Chromatic Scale Be Brave, Go Abead Abead And Play Outside 0ne reason that musicians

More information

GRADE THREE THEORY REVISION

GRADE THREE THEORY REVISION GRADE THREE THEORY REVISION Note Pitches Use flashcards to make sure you know all your notes including leger lines. Whenever you name a note remember to check the clef, keysignature, and for accidentals

More information

MMTA Written Theory Exam Requirements Level 3 and Below. b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B).

MMTA Written Theory Exam Requirements Level 3 and Below. b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B). MMTA Exam Requirements Level 3 and Below b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B). c. Staff and grand staff stem placement. d. Accidentals: e. Intervals: 2 nd

More information

4 BAR JAZZ FILLS PARTS 1-6 (PLUS BONUS MATERIAL)

4 BAR JAZZ FILLS PARTS 1-6 (PLUS BONUS MATERIAL) Video Drum esson Series 4 BA JAZZ FIS PATS 1-6 (PUS BONUS MATEIA) * Part 1 Triplets with 16th notes * Part 2 - Swung 8th notes with Three hands and a foot * Part Swung 8th notes with Triplets * Part 4

More information

Jazz Chords by Mark Fowler

Jazz Chords by Mark Fowler Based mostly on: Jazz Chords by Mark Fowler 2 straight-forward articles by David Hamburger in Acoustic Guitar Magazine (August & September 2003) http://acousticguitar.com/lessons/chord_names/1.html http://acousticguitar.com/lessons/chord_names2/1.html

More information

Fingerpicking The Guitar

Fingerpicking The Guitar Fingerpicking The Guitar a basic guide Will Fly Oreham Common Press Fingerpicking The Guitar A basic guide By Will Fly Oreham Common Press, 2011 Will Fly, 2011 i Preface I ve been playing a steel strung

More information

Level 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor

Level 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor Level 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor 1. Play Scale (As tetrachord or one octave, hands separate or together) 2. Play I and V chords (of the scale you just played) (Hands

More information

Foundation Course. Study Kit No 1. Away In A Manger

Foundation Course. Study Kit No 1. Away In A Manger Foundation Course Study Kit No 1 Away In A Manger Reharmonization Study Kit No. 1 Away In A Manger Author: Rosablanca Suen Web: www.learnpianowithrosa.com Email: Rosa@LearnPianoWithRosa.com Cover Design:

More information

Guitar Auditions Audition Requirements for Guitar Majors

Guitar Auditions Audition Requirements for Guitar Majors Guitar Auditions Audition equirements for Guitar Majors The McNally Smith College of Music Guitar Department wants each prospective student to be as prepared as possible for his or her audition. The primary

More information

Vibrato for Beginners

Vibrato for Beginners Vibrato for Beginners By Brian J Kane Vibrato is the most common note inflection in music. Even though vibrato is extremely common, student musicians often find that generating a consistent and steady

More information

blues & rock let s jam!

blues & rock let s jam! blues & rock let s jam! perfect for all instruments instruments including: including: guitar guitar keyboard keyboard percussion percussion saxophone saxophone perfect for all flute flute voice voice harmonica

More information

MUSIC UNDERSTANDING AND VOCABULARY

MUSIC UNDERSTANDING AND VOCABULARY Level Four - Piano PERFORMANCE Perform one memorized solo Perform one solo, contrasting style, memory optional MUSIC UNDERSTANDING AND VOCABULARY Give a verbal description of the memory piece, listing

More information

August 2015 GUITAR COALITION OF WESTERN NORTH CAROLINA. Blues Improvisation: Diminished. Presenter: Alec Fehl.

August 2015 GUITAR COALITION OF WESTERN NORTH CAROLINA. Blues Improvisation: Diminished. Presenter: Alec Fehl. August 2015 GUITAR COALITION OF WESTERN NORTH CAROLINA Blues Improvisation: Diminished Presenter: Alec Fehl www.gcownc.com Diminished Triad Formula A triad is a chord composed of three notes. A major triad

More information

Sample of Version 2.0 of Swing & Jump Blues Guitar

Sample of Version 2.0 of Swing & Jump Blues Guitar The Charlie Christian Approach Charlie Christian (1916 1942) was one of the first real swing guitar players that had a lasting influence on all other swing and jump guitar players after him. Even more

More information

Black and Tan Fantasy

Black and Tan Fantasy Black and Tan Fantasy Duke Ellington & Bubber Miiley Lesson 1 Context Starter Activity Listen to Black and Tan Fantasy by Duke Ellington and Bubber Miley What is the style/genre of the song? Make a list

More information

KEYS TO THE BLUES BLUES CHART AND CHEAT SHEET FOR HARP N GUITAR. By George Goodman

KEYS TO THE BLUES BLUES CHART AND CHEAT SHEET FOR HARP N GUITAR. By George Goodman KEYS TO THE BLUES BLUES CHART AND CHEAT SHEET FOR HARP N GUITAR By George Goodman Copyright 2016 George Goodman HarpNGuitar.com Edition, License Notes Text and images copyright 2016 George Goodman All

More information

Introduction to Chords For Jazz Band

Introduction to Chords For Jazz Band Introduction to Chords For Jazz Band First, let s start with a major scale and review the scale degrees. We refer to the distance between two notes as an interval, and an interval has two aspects: the

More information

INSIDER SECRETS 50. Arpeggiated picking patterns for developing accuracy and flexibility for the improvising guitarist

INSIDER SECRETS 50. Arpeggiated picking patterns for developing accuracy and flexibility for the improvising guitarist INSIDER SECRETS 50 Arpeggiated picking patterns for developing accuracy and flexibility for the improvising guitarist by ROBERT MINCHIN 2002 Robert Minchin This publication is protected by United States

More information

TEST SUMMARY AND FRAMEWORK TEST SUMMARY

TEST SUMMARY AND FRAMEWORK TEST SUMMARY Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: INSTRUMENTAL Copyright 2014 by the Washington Professional Educator Standards Board 1 Washington Educator

More information

Internet Guitar Lessons Video and Lesson Content

Internet Guitar Lessons Video and Lesson Content Internet Guitar Lessons Video and Lesson Content Backing Tracks Creating Backing Tracks Improvising over Chord Changes 6 - Backing Track Studio Session Gear Rundown Virtual Gig Part 1 Virtual Gig Part

More information

GOSPELKEYS TM 202 MASTERING WORSHIP CHORDS TRANSCRIPTS SIDENOTES. www.hearandplay.com www.gospelkeys202.com. Minister Jermaine A.

GOSPELKEYS TM 202 MASTERING WORSHIP CHORDS TRANSCRIPTS SIDENOTES. www.hearandplay.com www.gospelkeys202.com. Minister Jermaine A. GOSPELKEYS TM 202 MASTERING WORSHIP CHORDS TRANSCRIPTS & SIDENOTES www.hearandplay.com www.gospelkeys202.com Minister Jermaine A. Griggs, Author 1 INTRODUCTION Hello my friend, and welcome to Gospel Keys

More information

MODERN MERENGUE PIANO BASICS

MODERN MERENGUE PIANO BASICS MODERN MERENGUE PIANO BASICS Jason Lyon 2008 If you ve found this article, you probably don t need to be told what merengue is. But let s run things down very briefly to start us off. Merengue, the Latin-American

More information

Advanced Techniques for the Walkingbass

Advanced Techniques for the Walkingbass Advanced Techniques for the Walkingbass I have seen guys with 5 string basses who can t get half the sounds that you are getting out of just three. -Buddy Fo of the Invitations If you have read the Beginners

More information

Music Ecademy Music Theory Curriculum CONTENTS

Music Ecademy Music Theory Curriculum CONTENTS Music Ecademy Music Theory Curriculum CONTENTS Beginner Grade. 1 Junior Grade 2 Preliminary Grade... 3 Grade One 4 Grade Two... 5 Grade Three... 6 Grade Four.. 7 Grade Five... 9 Grade Six.. 10 Grade Seven...

More information

How to Play Chords on your Mountain Dulcimer tuned DAd

How to Play Chords on your Mountain Dulcimer tuned DAd How to Play Chords on your Mountain Dulcimer tuned DAd (or Surviving in a Multi-Instrument Jam) by Missy Strothers If you are like me, sooner or later you ll get into a festival situation where you ll

More information

2012 Saskatchewan Curriculum. Jazz Theory. To Accompany Instrumental Jazz 10, 20, 30

2012 Saskatchewan Curriculum. Jazz Theory. To Accompany Instrumental Jazz 10, 20, 30 2012 Saskatchewan Curriculum To Accompany Instrumental Jazz 10, 20, 0 ISBN 98-1-10-06-2 1. Arts education (Secondary school) - Saskatchewan - Curricula. 2. Competency-based education - Saskatchewan. Saskatchewan.

More information

Contents. Introduction. Musical Patterns. 1) The Secrets of Scales. 2) Play With the Patterns. 3) The Secrets of Chords. 4) Play With the Shapes

Contents. Introduction. Musical Patterns. 1) The Secrets of Scales. 2) Play With the Patterns. 3) The Secrets of Chords. 4) Play With the Shapes Contents Introduction Musical Patterns 1) The Secrets of Scales 2) Play With the Patterns 3) The Secrets of Chords 4) Play With the Shapes 5) Every Semitone Has a Name 6) Build Your 2-Note Chords 7) The

More information